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159. GREGYNOG PRESS. EURIPIDES. The Plays of Euripides, translated into English Rhyming Verse by Gilbert Murray. Gregynog Press, Newtown, Montgomeryshire. 1931.
£750
Folio. 2 vols.;sometime rebound in full red morocco, lettered in gilt on spine, top edges gilt, each volume with 16 engravings designed by R.A. Maynard and H.W. Bray and cut on wood by H.W. Bray, titles printed in black and brown; a fine set..
Limited to 500 copies, of which 125 copies were reserved for Random House, New York. The subjects for the wood-engravings were chosen by T.B.L. Webster from 5th century Greek vase paintings.
160. GREGYNOG PRESS. AESOP. The Fables of Esope. Translated out of Frensshe in to Englysshe by: William Caxton. With Engravings on Wood by Agnes Miller Parker. The Gregynog Press: Newtown, Montgomeryshire. 1931.
£4,500
4to. Bound in the original Welsh natural sheepskin, spine titling blocked in black, edges untrimmed; pp. [viii] + 146 + [2]; 37 wood-engravings by Agnes Miller Parker, wood- engraved initial letters by William MacCance; slightly rubbed on the spine as usual; a very good copy.
One of 250 numbered copies, printed on Barcham Green hand-made paper. One of the most attractive productions of the Gregynog Press. “The wood engravings by Mrs McCance
(Agnes Miller
Parker) for the edition of Aesop’s Fables make it the most conspicuously decorative volume of that kind.” (Colin
Franklin, The Private Presses, p.129).
161. GREGYNOG PRESS. MILTON, John. Comus, a Mask. Newtown, Montgomeryshire: The Gregynog Press. 1931.
£750
Imperial 8vo. Handsomely rebound by Porter in full russet morocco, lettered in gilt on spine and upper cover; 6 wood-engraved plates, vignette on title, and a tail-piece, all by Blair Hughes-Stanton; a fine copy.
Number 200 of 250 copies.
162. GREGYNOG PRESS. The Lamentations Of Jeremiah. Montgomeryshire: The Gregynog Press 1933.
£2,750
Folio. Original dark blue Hermitage calf, titled in blind on spine and upper cover, Gregynog device also in blind on upper cover; 21 wood-engravings and cover design by Blair Hughes- Stanton, 5 of the engravings are full-page, headings and running titles printed in blue; some minor scuffing to the soft leather as usual, but a very nice copy.
Limited to 250 copies, printed on Japanese vellum, this being one of 125 copies bound in Hermitage calf. One of the highlights of the Gregynog Press
163. GREGYNOG PRESS. HABERLY. Loyd. Anne Boleyn And Other Poems. Newton. The Gregynog Press. 1934.
£498
Small 4to., original full bown morocco, blocked in gilt on upper cover with crowned falcon badge, lettered in gilt on spine, top edge gilt others uncut; text printed in red and black with initial letters designed by Graily Hewitt printed in red and green, device on title-page printed in green, another on colophon leaf printed in red and green. A near fine copy.
Limited edition of 300 copies printed on Kelmscott hand-made paper.
164. GREGYNOG PRESS. BURNE-JONES, Edward. BRIDGES, Robert. Eros and Psyche. A Poem in XII Measures by Robert Bridges: with Wood-cuts from Designs by Edward Burne- Jones. Newtown: Gregynog Press. 1935.
£1,250
4to. Original white pigskin, gilt blocked ornament within a circle on upper cover, spine with gilt ties and titling, top edges gilt, others uncut; illustrated with woodcuts from designs by Edward Burne-Jones, text printed in red and black in Gregynog type, initial letters designed by Graily Hewitt printed in green; a few light spots on covers, otherwise a very good copy in original cloth slipcase (a little soiled).
Limited to 300 copies, printed on Batchelor hand-made paper. The designs by Burne-Jones were originally drawn for a Kelmscott Press edition of William Morris’s narrative poem Cupid and Psyche which was never published, though Clover Hill Editions did bring Morris’s poem and Burne-Jones’ designs together for a limited edition in 1974. For this Gregynog Press edition of Robert Bridges’ poem the designs were prepared for engraving by Dorothy Hawksley, 5 of which were cut on wood by Loyd Haberly and the remaining 19 by R. John Beedham. Dorothy Harrop (p. 145) regards the white pigskin binding as being “infinitely preferable” to the specials in green oasis.
Harrop 33.
165. GREGYNOG PRESS. MILTON, John. On the Morning of Christ’s Nativity. With a Wood Engraving by Alison McKenzie. Gregynog Press. 1937.
£398
Small Folio, original cream wrappers printed in blue. Wood engraving by Alison McKenzie, initial letters printed in blue. pp.12. A fine copy.
Limited edition of 250 numbered copies. Printed as a Christmas token from the Davies sisters, this copy without the loose Christmas Greetings leaf.
“In December, the Press printed two hundred and fifty copis of Milton’s ode and hymn, On the Morning of Christ’s Nativity, set in Perpetua Type, with a wood engraved frontispiece of the Virgin and Child by Alison McKenzie, a Scottish artist. It is one of the most attractive pieces of ephemeral printing ever produced at Gregynog and now comands high prices in the sale-rooms. Copies were numbered and distributed with an insert bearing Christmas greetings from the Davies’s’”. (Harrop. A History of the Gregynog Press p. 160 & E201).
166.GREGYNOG PRESS. HARROP, Dorothy A. A History of the Gregynog Press. Pinner. Private Libraries Association. 1980.
£78
4to., original brown buckram lettered in gilt on spine with Gregynog device stamped in blind on the upper board. With 24 plates and 65 text illustrations, many full-page. A near fine copy.
First edition, limited edition of 2500 copies. The authoritative history of this important press which also contains the definitive bibliography of their printed books and a detailed list of the ephemera produced at the press.
167.GWASG GREGYNOG. HERMES, Gertrude. Wood Engravings by Gertrude Hermes being Illustrations to Selborne. With Extracts from Gilbert White. Introduced by William Condry with a Postscript by James Hamilton. Newtom. Gwasg Gregynog. 1988.
£498
Folio, original cloth backed patterned paper covered boards. With 6 full page wood engravings by Getrude Hermes printed from the blocks. A fine copy.
Limited edition of 240 numbered copies. Gertrude Hermes was commissioned in late 1930 to begin work on engravings for a proposed edition of Gilbert White’s ‘Natural History of Selborne’. The commission came at a particularly difficult time for her, work progressed slowly and it was only when personal matters were finally resolved that she felt fully able to attempt the task. These engravings represent some of her finest work, but despite this, the directors of the press became increasingly concerned at the slow progress and mounting costs on the one hand and a declining market in what were financially difficult times on the other, and on 15th November 1932 the directors of the press resolved that the book be ‘postponed’ until a more favourable time. It was eventually published, in this form, on the bicentenary of White’s original publication.
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